1080p vs. 1080i for acquisition and post

[Craig Seeman]

The temporal differences between 108024p and 60i are discernible to most. I tend to shoot at 30p to get better temporal resolution that 24p and, when shooting sports, will use 720p60 or 1080i60 in some circumstances.

You have to know what your clients want, why they want it, what you are delivering for. If the clients likes the look of 24p they will not like 60i.

[Galen Yeo]

Hi Craig

Thanks. What I meant is: we are still shooting in 24p no matter what. The issue is how shooting 24p in 1080i vs. 1080p affects things.

thanks

g yeo

[Nick Lammers]

I don’t think it’s possible to shoot 24p and 1080i. The P and the I don’t play well together.

Nick Lammers
Media Mill, Inc.
St. Louis, MO

Media 100i XS 8.2.3a on an old G4
Producer 11.5.1 on MacBook Pro 2.33 GHz core 2 Duo

[Galen Yeo]

Nick

The Sony Cinealta and Panasonic HDX 900 cameras do 1080i and 24p. I’m not sure what you mean.

They do this: 1080/23.98p (over 59.94i)

[John Sharaf]

Nick,

Not exactly; the F900’s (Cine Alta) slow down the tapr when recording at 24 (or 25fps) and only write the 24 frames per second, unlike the Panasonic cameras which write the tape as if it’s the result of telecine to include the pulldown frames.

JS

[Michael Palmer]

What camera will be used to shoot with? If this is for broadcast it will most likely end up 60i, but you can shoot progressive in any format you choose.

Good Luck
Michael Palmer

[Nick Lammers]

Sorry – when I saw 24″p” I assumed that meant progressive which would not be “i” or interlaced. I understand slowing down to 24 frames – just didn’t think 24p and 1080i were compatible. I need to stick to just reading this forum.

[Galen Yeo]

Hi Michael,

Some material is being shot I assume on a Sony HDCam 900 in 1080p/24p.

However, we may need to pick up material on a different camera – a Panasonic HDX900 which only shoots 1080i/24p. The issues are whether there will be (a) differences in the final product or (b) hiccups in post if cross conversions or transcoding are needed.

If the visuals are essentially the same – then I’m not too worried. I understand that there might be motion artefacting in this situation.

Thanks

[John Sharaf]

Galen,

There is no such thing as 1080i/24p. When the HDX900 is set to recors at 1080/24 it writes progessive frames with “flags” just like a recording from telecine, where each progressive frame is repeated in a 2:3 pulldown cadence. NLE software can remove the extrda frames and integrate the resulting 24 frames per second into a 24fps timeline/project.

JS

[Galen Yeo]

Hi John

I am aware of that. I understand the Sony vs. Pana difference. What I want to ascertain is the difference between 1080p and 1080i capture and post. 1080p is technically a higher data rate in post and has more information than its 1080i counterpart. I’ve been told that shooting in two modes will look different. I haven’t at this stage been able to test it. Is this a potentially ugly situation? Thanks